Theatre music and the development of personality: ecological approach

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Saratov State Conservatoire

Theatre music and the development of personality: ecological approach

Kireeva Natalya Yuryevna, PhD in Art History, Associate Professor of Departament of History and Theory of Preforming Art and Musical Pedagogy

Saratov, Russian Federation

Academic musical theatrical art is the highest manifestation of human creativity. In best examples, themes and ideas that have lasting value are raised. Through the synthesis of various types of musical and theatrical activities, a unique spiritual and worldly experience is expressed. However, the classical performances of operas and operettas are undergoing significant changes today. They are primarily associated with the transformation of staged approaches. The main reference point is “mainstream theatricality” aimed at updating the methods of working with the stage space, which often unrecognizably distorts the true content of the work, as a result of which the proper cathartic effect is not achieved during implementation. This is directly related to the attraction of the viewer, which can be called lost in the stream of entertainment offered. Being in a state of continuous informing by means of mass media, as well as the use of gadgets, at it the “clip thinking”, which is an obstacle to the deeper creative development necessary for the perception of classical musical works.

In the modern socio-cultural situation, the problem of creative development of the individual is especially acute; therefore, quite a few representatives of creative professions are in search of new approaches and methods of communication. This refers equally to the relations in the communicative system “art-public”, and to the interaction “teacher-student” in the learning process since it is educational institutions that bring up most of the recipients of art. One of the possible ways in solving this problem is application of the ecological approach, in which the main emphasis is placed on the nature-oriented development of an individual, where orientation towards nature is important not only as a manifestation of vital features but also as a resource containing all the prerequisites and opportunities for the realization of the spiritual potential of an individual. The disclosure of natural abilities contributes to the formation of a genuine and profound relationship not only with works of art, but also with the manifold manifestations of life in general.

Keywords: music, creative development, music activity theatre, art, recipient, nature-oriented development, ecological approach.

МУЗЫКАЛЬНО-ТЕАТРАЛЬНОЕ ТВОРЧЕСТВО И РАЗВИТИЕ ЛИЧНОСТИ: ЭКОЛОГИЧЕСКИЙ ПОДХОД

Киреева Наталья Юрьевна, кандидат искусствоведения, доцент кафедры истории и теории исполнительского искусства и музыкальной педагогики, Саратовская государственная консерватория имени Л. В. Собинова (г. Саратов, РФ)

Академическое музыкально-театральное искусство - высшее проявление творческого начала человека. В его лучших образцах поднимаются темы и идеи, которые имеют непреходящую ценность. При помощи синтеза самых различных видов музыкальной и театральной деятельности выражается уникальный духовный и житейский человеческий опыт. Однако ставшие классическими спектакли опер и оперетт сегодня претерпевают существенные изменения. Они связаны прежде всего с трансформацией постановочных подходов. Главным ориентиром становится «мейнстримная театральность», нацеленная на обновление методов работы со сценическим пространством, что зачастую до неузнаваемости искажает подлинное содержание произведения, в результате чего должный катарсический эффект при реализации не достигается. Использование таких подходов напрямую связано с привлечением зрителя, которого можно смело назвать потерянным в потоке предлагаемых развлечений. Находясь в состоянии непрерывного информирования средствами массмедиа, а также из-за использования гаджетов, у него вырабатывается «клиповое мышление», являющееся преградой к более глубокому творческому развитию, необходимому для восприятия классических музыкальных произведений.

Так, в современной социокультурной ситуации особенно остро встаёт проблема творческого развития личности, поэтому многие представители творческих профессий находятся в поиске новых подходов и методов коммуникации. Это в равной степени касается как отношений в коммуникативной системе «искусство - публика», так и взаимодействия «преподаватель - ученик» в условиях процесса обучения, ведь именно посредством образовательных учреждений происходит воспитание большей части реципиентов искусства. Одним из возможных способов решения данной проблемы является применение экологического подхода, в котором основной упор делается на природосообразное развитие личности, где природосообразность имеет значение не столько как проявление витальных черт, сколько как ресурс, содержащий все предпосылки и возможности для реализации духовного потенциала Личности. Раскрытие природных возможностей способствует формированию подлинного и глубокого отношения не только к произведениям искусства, но и к многообразным проявлениям самой жизни в целом.

Ключевые слова: музыка, творческое развитие, музыкально-театральная деятельность, искусство, реципиент, природосообразное развитие, экологический подход.

Man's creative work is one of the main means of achieving an integral development of personality. The art of theatre music is the highest level of creative activity, reflecting various aspects of human life and raising profound issues of existence. The whole diversity of imagery and feelings contained in a piece of art is rendered by means of a multifaceted musical language, as well as the use of numerous kinesthetic means of expression. The richness of forms in which the material is presented and the arsenal of composition and performing methods of a musical piece develops intellectual and emotional capabilities of a person and contribute to unlocking his spiritual potential. This, in its turn, facilitates the formation of the perception of the world in all of its beauty, complexity and variety of manifestations. However nowadays such deep and multilateral perception is far from being widely accessible. The formation of a certain type of perception is considerably influenced by the social conditions in which a person finds himself. On the one hand, modern mass media transmit simplified forms of musical and theatrical art which are oriented towards entertainment rather than to the elevation and development of personality. Plus, as rightly observes I.G. Umnova, “Teenagers often listen with players on their heads stupidly repeated loud sound signals that excite the first signal system and disable higher nervous activity” [10, p. 218]. If an individual happens to be in contact only with entertaining art, he loses the capability of apprehending complex and highly artistic pieces. On the other hand, we can state the impact of the dissemination of the new modes of information transfer that forms the so-called “clip thinking” which is meant to receive and process information quickly but in a non-linear way. As far as people with this kind of thinking are concerned, their ability to immerse into material is transformed into the ability to simultaneously and often superficially solve multi-task issues. People dominated by clip thinking encounter more and more difficulties in grasping information set forth in a gradual way, such as a stylistically uniform piece of theatre music lasting about two or three hours. This is how a great interest of the modern public in the growing number of musicals (mainly variety ones) can be accounted for. These performances embrace all the attributes of clip thinking: domination of vivid theatrical images, musical and stylistic diversity (one performance can combine different styles and genres: from old classical arias to modern rock ballads), contrast-based presentation of material, choreographic numbers, as well as simple, but exciting plot and expressive acting. All these meet the needs of the majority of the modern public referred to as the Internet-generation by the specialists in the field. Some researchers consider that in the future musicals will dominate the academic sphere, too. In the USA, musicals have already definitely entered into the history of art, whereas Russian musical has not reached its peak yet. musical theatrical art

Academic creative works find themselves today in these conditions. Seeking to adapt to the given situation, art workers are trying to introduce the elements of mass culture into academic performances of theatre music. Transformation of the content and the visual aspect of performance not infrequently becomes the most popular solution. New content of a piece of theatre music may be based on classical music earlier created by famous composers. Visual imaging changes by means of using emotionally efficient means of expressivity, which are in demand nowadays. The main task of directors is to attract the audience by these novelties and to ensure its favourable disposition during the viewing; often they use the tools of cinema, common in the corresponding production time. This phenomenon can be called “mainstream theatricality.” It sparks mixed reaction on part of both performers and the public. The imbalance consists in the fact that the external presentation of the plot of an artistic piece comes into conflict with the essence of its original content. Yet, the rejection to approach “mainstream theatricality” might provoke an even greater decrease in the interest in academic art. However, true artistic realization of a piece of art should be based on deep inner connections; revealing them allows for its vivid visual realization. Academic musical theatrical art is the highest manifestation of human creativity. In the best examples, themes and ideas that have lasting value are raised. This unique spiritual and worldly experience is expressed through the synthesis of a wide variety of musical and theatrical activities. However, the classical performances of operas and operettas are undergoing significant changes today. They are primarily associated with the transformation of staged approaches. The main reference point is “mainstream theatricality” aimed at updating the methods of working with the stage space, which often distorts the true content of the work beyond recognition, as a result of which the proper cathartic effect is not achieved. This is directly related to the attraction of the viewer, which can be called lost in the maelstrom of entertainment offered. Being in a state of continuous informing by means of mass media, at the “clip thinking,” which is an obstacle to the deeper creative development necessary for the perception of classical musical works. It can prevail if it organically fits into the context of the content of the piece, for example, in a musical, where there is no conflict between the “renewed plot” and the original libretto, as well as between the “renewed plot” and the music. The group of recipients oriented towards traditional forms of the presentation of material mostly sees only farcical models in today's interpretation of pieces of theatre music, whereas the younger generation reproaches art workers for the excessive conservatism of academic art and the rejection of today's “positive” trends. The main difficulty is in the fact that the representatives of academic art tend to think that it is the public, who should aspire to “growing” to the academic pieces rather than their creators and performers, who should adapt to the needs of mass audience.

It should be stressed in this connection that the two trends discussed above should harmonically coexist. Art should not ignore modern trends of the development of society. This has already been mentioned by B.L. Yavorsky: he considered that the content of musical art should present the imprinting of “psychic and psychological principles” reflecting “the scheme of social progress” in a certain epoch [14, p. 19]. In order to achieve this, it is necessary to choose proper expressive means that should be directed towards the realization of the main functions of academic art, and namely social, aesthetic, compensatory, pedagogical and educational ones, rather than limiting it to aiming at entertainment. Thus, the representatives of the “art-audience” system are both in search of efficient and reasonable interaction. We can see that, on the one hand, the advocates of academic art are becoming hostages of the social situation; on the other hand, musicians and teachers are forced to look for new methods for the artistic development of personality, which would lead Russian art to some new ways of true art whose main aim would be a creative one.

The solution of the existing situation can be found, first and foremost, in attracting efficient up-to-date methods of creative development. One of the most productive and comprehensive ones is, first of all, educational environment. It is in educational institutions where the development of the majority of people - the recipients of art - takes place. Having analyzed the situation, quite a few contemporary researchers suggest the following solution in their papers: to return the man to the natural world. For example, G.G. Zeynalov writes, “Most efforts of people used to be centred around studying the environment with a view to rebuild and adapt it according to their needs. In the future, we should expect a shift of maximum efforts to studying the man itself, not only his physical but also his spiritual nature” [3, p. 125].

Over the recent years, a scientific school called “cultural ecology” (A.A. Guseynov, I.A. Yevteev, G.G. Zeynalov, N.A. Mikheeva and P.V. Zhukov, D.F. Razenkova etc.) has become more and more widespread, especially due to the activity of academician D.S. Likhachyov. He is convinced that, along with preserving natural biological environment, it is also necessary to care for preserving cultural environment. It is the balance between these two components of human life that provides us with an inner support for true self-identification and selforganization. Researchers have introduced the notion of “ecological man” (homo ecologus) who is focused upon the interests ofman, society and nature [5, p. 126]. The school has established ecological approach to the development of personality, which has been adopted by S.A. Amonashvili, R. Atfield, N.N. Veresov, A. Guseynov, N.S. Dezhnikova, A.N. Zakhlyobny and E.N. Dzyatkovskaya, I.D. Zverev. N.N. Kondratyeva, D.S. Likhachyov, N.M. Mamedov etc. They have also formed ecological aesthetical approach in studying the issues of artistic education; among its representatives are S.N. Glazachyov, N.B. Manikovskaya, N.G. Kuprina, L.P. Pechko, G.I. Ostrovskaya, A.K. Shulzhenko and others.

This approach is based on the idea of the transformation of artistic values (by means of practical mastering and realization during creative activity) into personal values, which allows people to “rise” above an a priori savage and barbaric attitude towards their surroundings. The main role is attributed to poly-artistic reality; its mastering results in sensory satiation of a man, development of the ability of deep comprehension and interconnection with the world, harmonization of inner state, achievement of full selfexpressivity, as well as formation of the perception of nature as a spiritual and aesthetic value.

Integral development presupposes the development with a constant feeling of unity with Nature, rather than that of contradiction with it. Numerous scholars have already mentioned the nature-oriented development of personality; however, unfortunately, their affirmations have remained at the level of theoretical thinking and have not become a basis for real activity. Today this issue has risen so sharply that it can hardly remain purely theoretical. It is important to analyze the achievements of scholars and to implement them later in real practice, in particular, in educational and cultural institutions, which provide mass education of recipients.

It is the nature-oriented development that makes it possible to form an integral personality. “Human nature is integral, thus, the development of one of its inherent faculties cannot but influence the development of others” [8, p. 10]. J.H. Pestalozzi tends to stress the idea that separation between intellectual and moral education inflicts irreparable harm. He once wrote, “The artificial way of school, which is in a hurry to outrun a free, slow and patient way of nature at every turn, giving major importance to words, educates people in the manner of our century, covering the lack of natural inner power with artificial glitter” [8, p. 15]. As for today's socio-cultural situation, the last part of Pestalozzi's statement can be interpreted in the following way: people do not try to cover the lack of inner power (which everyone has) and fail to be fully aware of themselves; thus, they themselves block their artistic potential. People should not direct their minds towards some very distant objects until they have studied the closer ones. Tension and compulsion have to be avoided. The power of nature itself leads to the truth; it completely lacks obtrusive order but, at the same time, nature has firmness and precision, and these two should give rise to the aspiration for conscious order in a man.

It follows from what has just been said that today the interest for discussing this issue has sparked again. A detailed study of the role of orientation towards nature for the development of personality is in the centre of G.A. Kharikovskaya's paper [12]. The researcher thoroughly examines the elaboration of this principle by the Czech pedagogue, humanist and writer Y.A. Komensky (1592-1670), for whom of major importance is the fact that man is nature's rational creation a priori endowed with the aspiration to virtue and it is necessary to direct the development of personality carefully and without any constraint, according to his natural abilities. The French thinker, writer and musicologist J.-J. Rousseau (1712-1778) also believes that a young man should be brought up in accordance with his nature and spiritual potential, without constraint, but at the same time, with a constant feeling of respect for work; Rousseau does not see education as preparation for life, but as a manifestation of life itself. The Swiss pedagogue and humanist J.H. Pestalozzi (1746-1827) pointed out that activity provides true improvement of personality based on love, faith and support in the national spirit. As for Russian pedagogues, the paper by G.A. Kharikovskaya presents the names of K.D. Ushinsky (1824-1870), the founder of Russian pedagogy, V.A. Sykhomlinsky (19171980), an outstanding pedagogue and innovator, and S.A. Amonishvili (1931), a Soviet Georgian and Russian psychologist and pedagogue. For them, orientation towards nature is significant not only as a manifestation of vital features but also as a resource, which has all the prerequisites and possibilities for the realization of the spiritual potential of a person. Special attention is given to gradual and consistent development of a man, whereas the indispensable condition for obtaining results is his self-realization. It is necessary to avoid tension and constraint. The power of nature itself leads to the truth. It completely lacks obtrusive order, however, nature has firmness and precision, and these two should give rise to the aspiration for conscious order in a man. This idea in its axiological aspect was further nurtured by German philosopher and sociologist M. Scheller (1874-1928), who used to say that cognition is based on the order of love -- ordo amoris, determining emotion -- and value-oriented and careful attitude of the man towards the world, the attitude which lays the foundations of the creative interaction of a person with the world. If we turn to the periods of time when these scientists lived, we can conclude that along with the “external development” of civilization, it is important to save those essential things that allow people to mould their personality. The issue of creative attitude towards the reality is so topical that it is included in the list of matters discussed in the framework of the leading European scientific forums. The concept suitable for the solution of the problem, which we have put forward is that of the involvement of students through the prism of co-creation, where the accent is put not on the formal realization of the concept, but on a true engagement into the co-creative educational process [16].

These ideas once laid the basis for the “Schulwerk” system of musical education (mid- 20^th century) by German composer and pedagogue Karl Orff. He considered the development of the skills of free improvisation to be the main method that is why harmony in its classical understanding did not play the key role. Great attention was paid to the search for rhythmical and timbre variety.

The most suitable material for such activities was folklore -- a concentration of national musical backgrounds -- having deep layers of a congenial intonational vocabulary.

The methodical system by Karl Orff can be applied to the national context of any country, which would allow to discover interesting elements in the national heritage and, at the same time, to give it a new life. The “Schulwerk” method is known to have been adapted in the countries of Western Europe, as well as in Japan and the USA. As for Russia, the first volume is translated into the Russian language (edition by VA. Zhilin); some of Karl Orff's methods are applied by T.E. Tiutiunnikova, T.A. Borovik, E.G. Zaburdyaeva, N.N. Perunova etc.

One of the best examples of applying the nature-oriented method in Russian pedagogy and art criticism is the activity undertaken by B.L. Yavorsky. The main point of his search was the aspiration to get to the depths of musical worldview. On the one hand, Yavorsky saw music as a self-sufficient phenomenon and tried to find an explanation for the laws of music in its nature; on the other hand, he contrasted musical laws as such with general laws of existence. In order to justify his theory, the researcher used knowledge from various fields: history, philosophy, psychology, physics etc. Yavorsky studies were not infrequently labeled as “energism” and “biologism” due to this vast engaging of data, as well as a great interest in the laws of joint interaction of energies in a man. We have to recognize that these definitions are true to a certain extent. He really was an advocate of the “biological approach.” B.L. Yavorsky's understanding of art was always based on the principle of the unity of the world and existence, realized by means of artistic thinking. The development of society only conditions the forms of content expression. Art is a natural reflection and realization of the objective existence of the man as a natural creature. In sharing his musical experience, B.L. Yavorsky's main task was to bring up a creatively active personality in terms of composition and performing, as well as the reception of artistic pieces. He tried to save the creative essence leading directly to the true life in every person. He regarded human capability to create with sound as a unique feature. By means of musical sounds, people have to express their vital needs and feelings. “Close acquaintance with musical literature used to generate interest towards real art and cultivate good taste. The rise of musical culture resulted in the increase in the level of general culture. This is the way the foundation is laid for the future musical and general worldview” [13, p. 118]. For Yavorsky an important aspect of the development of musical thinking was not only gaining strictly musical knowledge, but also developing active emotional perception, i.e. molding a harmonically developed personality on the basis of rational and emotional unity.

In order to achieve new educational aims, L. Yavorsky also created quite numerous groups of students -- children's orchestra and choir -- where the number of participants could reach 350 members. At the same time, pupils had an opportunity to conduct such large groups not only during repetitions, but also on stage. B.L. Yavorsky was the initiator of the creation of original dramatized compositions, musical-plastic performances and stage adaptations of piano miniatures and songs (by E. Grieg, F. Chopin and F. Schubert) with the use of decorations. He also encouraged the initiative of using the expressive means and personal improvisation in musical, plastic and vocal literary expressions. He therefore developed not only visual-associative thinking, but also the whole complex of creative skills -- kinesthetic, graphic and literary images -- contributed to the appearance of the musical ones and vice versa. The pedagogue used to choose thoroughly highly artistic educational material with the potential to arouse students' deep feelings and an impressive emotional feedback. He tried to teach pupils thinking discipline and awareness of events; he did not only teach a subject, he did everything to teach how to think and create. Yavorsky also based musical education on the method of cultivation. “This method is aimed at the possible development and cultivation of a child's artistic and musical talents. Taking into consideration the fact that these talents are often hidden very deep inside... everything is directed towards a free and complete revelation of a child's artistic personality: his initiative is of paramount importance; all activity of teachers and the whole children's group is directed towards evoking and developing this free initiative in every possible way” [7, Internet resource]. A freely developed individual grows capable of critical attitude towards the received artistic material. Yavorsky's pedagogical system achieved great results and was enormously successful. Quite a few of his pupils later became true artists and successful professional conductors. The historicity and validity of Yavorsky's theory never goes out of date, it can be improved, based on the same principles, but in new conditions. For example, among the notions actively discussed these days is “pedagogical ecology,” a concept that presupposes the reduction of pressure and interference in a child's development. According to G.S. Mamayeva, “this space of contact between well-established experience of adult's life and child's freedom is the place where unique conditions for the birth and the development of Personality appear” [6, p. 24].

In conclusion, we would like to highlight the fact that the nature-oriented method in the framework of ecological approach has not lost its significance in solving vital tasks of the formation of a creatively active personality. Otherwise we will get a society of mass culture, a society of “lonely isolated individuals torn from the previous social forms and lacking well- established life values, with a weakened ability of real cognition and thinking and, first and foremost, with the lack of the necessity to comprehend accessible things more objectively and to give them critical assessment” [2, p. 8-9]. It should be specially pointed out in this connection that we do not contrast various educational systems, we only try to bring to the limelight the idea that even the use (propagation) of the best patterns externally, with no penetration inside, will lead solely to negative consequences. Indeed, the majority of the modern society belongs to the closed type of personality which is characterized by such qualities as loss of self-identification, absence of creative manifestation, dependence on artificially created mental constructs, determination of everyday events by constant fears and, as a result, partial or full loss of interest for life and creativity. In this situation, when a person is concealed from himself, he does not only become incapable of a deep penetration into the content of pieces of musical art, but also cannot properly apprehend the achievements of the developed anthropogenic civilization in general.

A key role in solving this problem is performed by the search for real awareness of self, feeling unity with Nature, and after that - a projection of this worldview on everyday activity. The directions that have proved to be topical include revision of the methods of child rearing and education, from the reduction of the ways leading to the formation of mistake detectors towards creative approach based on open interaction of people. These are the only conditions that will spark true interest for musical pieces, based on open creative interaction of both parts of communication in the artistic space.

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